I don’t normally post my fiction on this blog, published or otherwise, but this one is a bit of a one-off. It’s the first death metal hard sf story ever to see print – or at least, I think it is. I’m pretty sure it’s the first to ever quote the lyrics from an album by a real death metal band – the excellent Mithras. I originally wrote it to submit to Mutation Press’s Music for Another World anthology. I’d wanted to write something incorporating my favourite genre of music for a while, and the anthology gave me the perfect opportunity. But death metal and sf doesn’t mix very well – death metal and horror, yes; in fact, that’s almost a cliché. But not sf; and especially not hard sf. Then the idea of metaphors for communication occurred to me… and I knew exactly the album whose lyrics would work in that regard. I wrote the story, emailed it to the band, and they very kindly gave me permission to use their lyrics.
Unfortunately, after all that my story didn’t make the cut for Music for Another World. So I sold it to Jupiter instead, and it was published in Jupiter XXXIII: Euanthe, July 2011.
WORDS BEYOND THE VEIL
Ian Sales
There comes a point in many death metal songs when the down-tuned guitars begin to play a simple mid-tempo riff—it’s almost a chugging noise—and the music turns… visceral. Standing there, shoulder to shoulder in a crowd, the volume near-deafening, the music seems to beat a sense of unity into those present. A single organism, at one with the music—those with their gazes fixed on the stage; those too in the maelstrom of moshers, spinning and colliding and roaring together.
Then the riff abruptly shifts into something far more complex. The time-signature alters. The drummer hammers out blastbeats at inhuman speed, and the singer attacks his lyrics in a guttural growl.
Something like that came over me as I put my gloved hands to the alien artefact’s side.
I can’t explain it. I knew I floated a hundred metres from the Orion crew module, and yet I could feel myself back at one of the many gigs I’d attended during my twenties. The memory of that concert was over-powering.
I pulled my hands away. A click sounded in my earphones, followed by a voice:
“Hey, Mike? You okay?”
It took me a moment to respond. “Fine, Val; I’m fine.” I shook my head, as if to dislodge the ghostly riff I could still hear. “Why?”
“You kind of zoned out there for a while,” she said.
“I did?” I blipped my Manned Manoeuvring Unit through ninety degrees to look at Stone, but the sun reflecting off her visor made it impossible to see her face. “For how long?”
“Nearly a minute.”
According to my Helmet-Mounted Display, everything was in the green. It wasn’t a fault in my spacesuit then, some sort of hallucination brought on by an interruption in the oxygen supply. I focused a moment on the hum of the pumps in my backpack—which both reassured me and reminded me of the spacesuit’s comforting protective embrace. As I calmed, I watched the graph of my heartbeat on the HMD slowly subside. And that, in a positive feedback loop, relaxed me further.
So I reached out again, and laid both gloves against the side of the artefact.
Once more, I felt that sense of one-ness, an alignment with, and brought on by, the pummelling assault of the musicians. After no more than a handful of bars, the tempo changed, the singer growled out his words, and the complexity of the guitar parts hinted at sense, yet still seemed to elude it…
I lifted my hands.
I knew that song. I recognised the band, and I still listened to them. In fact, I had all of their albums on my phone in the crew module. And yes, I’d seen them perform live a number of times.
I can’t explain why death metal appealed to me, or why I still listened to it. I’d imagined that as I grew older my taste in music would mellow with the years. Instead, the reverse happened. After a childhood listening to radio-friendly rock, at university I’d discovered extreme metal—black, death, doom… Death had drawn me in, and I’d been introduced to its various sub-genres: technical death, brutal death, melodic death, progressive death, death/doom…
But what did my taste in music have to do with an alien artefact found in the Kordylewski Clouds at the Earth-Moon L5 point?
###
When the artefact was first detected, everyone thought it was an alien derelict. Telescopes showed a cylinder some five hundred metres long and thirty metres in diameter, with a rough unfinished appearance. It had no visible means of propulsion, no visible anything. Spectrographic analysis hinted at exotic matter in its construction. Which was why I’d been included in the team sent to investigate it. My field was exotic physics. I was also a qualified astronaut, having spent two tours on the International Space Station performing experiments with inconclusive results.
I remember peering out one of the Orion CM’s horizon windows as we closed on the L5 point after a three-day trip from Earth, and feeling a crushing sense of disappointment. The mysterious object in the Kordylewski Clouds wasn’t an alien spacecraft. The cylinder was hollow; it was a piece of space junk. This mission wasn’t going to be humanity’s first contact with an alien species. True, the artefact’s presence implied the existence of another civilisation somewhere out there; but it seemed we would not be meeting its builders.
And who knew how old this piece of junk was? It might have been drifting through space for billions of years before being captured by the Earth-Moon L5 point.
Neubeck—Colonel Ed Neubeck, USAF; mission commander—was as disappointed as the rest of us. More so, perhaps. I could at least investigate the properties of the material from which the “space junk” was constructed. But Neubeck thought of himself as a throwback to the heady days of Mercury, Gemini and Apollo. He’d been a test pilot at Edwards AFB before joining NASA. As far as he was concerned, he was the living embodiment of the “Right Stuff”, and he wanted his page in the history books. It made him insufferably arrogant. Since launch, he’d been dictatorial, brooking no disagreement to his orders, and sublimely uninterested in discussion.
Admittedly, he was good at his job—more than that, he was a gifted pilot. If there was a crisis and Neubeck was in charge, you actually stood a better chance of coming out of it alive. But I didn’t like him, and the feeling was mutual.
Val Stone, the other pilot, scared me a little. She brought an unnatural, and frightening, focus to whatever she did. Often, she treated people like pieces of equipment. She also had an annoying habit of always being right—although she took her time figuring things out.
The final member of the crew, and the reason why for me the four of us didn’t qualify as “amiable strangers”, was Xiang Yu, a computer science and communications specialist from San Francisco. He and I had shared a tour on the ISS, so we knew each other. It was a “space friendship”—we didn’t mix on the ground, but in LEO we’d hung round together. Figuratively and literally.
The four of us were the first humans to leave Low Earth Orbit since Apollo 17 in 1972.
###
Stone and I returned to the CM, where Yu and Neubeck waited. We parked our MMUs in an open bay of the Service Module, and worked our way hand over hand along the cable, past the wing-like solar arrays, to the inflatable airlock. I entered the tube first, landing feet first on the inner hatch, and then pushing shut the inflated plug which served as the outer hatch. I waited patiently for the airlock to fill, while the song I’d heard ran round and round inside my head. I even found myself nodding in time to the beat—although not too much, or I’d bash my chin on the lip of my helmet.
The inner hatch swung out…
As soon as I saw Neubeck’s face, I knew Stone had spoken to him on another channel. He was furious.
I unlocked and pushed up my visor.
“You’re a goddamned flake, Ross,” Neubeck snapped.
He might be commander of the mission, but that didn’t give him the right to speak to me like that. I was a civilian, even if he wasn’t.
“Oh shut up,” I replied.
Yu quietly helped me get out of my spacesuit, undogging the rear hatch so I could squirm out.
“I didn’t know it was going to do that,” I continued as I pulled my legs from the spacesuit’s hard upper torso. “We know the bloody thing’s alien, so how can we know what it would do?”
Neubeck opened his mouth, then snapped it shut. He glowered at me. “Do what?”
I took my spacesuit from Yu, pushed it across the crew module’s interior to the storage lockers below the mission specialists’ seats. Behind me, I heard the hatch open and shut to let in Stone. Neubeck followed me to the lockers.
“What the hell are you saying, Ross?” he demanded. He had a habit of looming over people, and he did it much more effectively in zero gravity. He made sure everyone was in his shadow.
“I felt something,” I told him, as I carefully pushed my spacesuit into its coffin-like storage. “When I touched the artefact. That’s what made me trance out for a moment.”
I moved across to my personal locker, yanked open the door and began rooting around inside it.
“What are you doing?” Neubeck asked.
“Looking for my phone.” I’d put it away before getting ready for the EVA.
“The hell you are. I want to know what’s going on.”
I looked back over my shoulder at him. “I heard music, all right? And I recognised it. I need to figure out what it was.”
Yu and Val drifted across to the storage lockers. It was a bit cramped with all four of us.
“What’s this?” asked Yu. “You heard music?”
So I explained that when I’d touched the alien artefact I’d been overwhelmed with a memory of a concert I’d attended years before. I’d recognised the music and wanted to identify it. I brandished my phone, which I’d just found.
###
“Tell me more,” Yu insisted.
I described the sense of unity I’d felt, how death metal always affected me in that way and how the artefact had seemed to mimic the same sensation.
“Wow,” said Yu. “That’s so weird.”
Neubeck swore. “His mix was wrong. He hallucinated. If that’s really an alien out there, it’s not going to use some goddamn devil-worshipping rock music to communicate!”
“Death metal’s not about worshipping Satan,” I said, affronted. “That’s black metal. Well, some black metal bands.”
“You’re a grown man, Ross, and you listen to that crap?”
Grown men, I thought mulishly, didn’t follow their childhood dreams and become astronauts. The whole space industry was a glorified—and hideously expensive—adventure. And I loved every minute of it.
I knew full well that Neubeck did too.
“Look,” I said, “I think I know what the song is. Maybe that’s not a piece of space junk out there, maybe it is the alien. And it’s using music to communicate. But I want to check the lyrics, to see if the song I heard was a deliberate choice.”
Yu pulled his phone from a pocket of his constant wear garment. All our phones could access the Deep Space Network and, through that, the Web. “I’ll see if I can find the words on-line,” he said.
Neubeck and Val looked at each other. The only thing missing from their expressions was the finger twirling at their temples. Still, they were pilots, and we pencil-necks had a reputation to uphold.
I plugged my comms carrier’s cable into my phone, and scrolled through my album collection. “This is it,” I told Yu, holding up the player so he could see the artwork. I identified it for him: “Worlds Beyond the Veil by Mithras. They’re a British band.”
“I prefer stoner myself,” he said, shaking his head.
It didn’t take me long to find the stretch of music that had been running through my head since I’d touched the alien artefact. The song was called ‘Psyrens’. I tracked back and forth through it. Yu held up his phone and I read through the lyrics displayed on its screen. I pointed.
“There,” I said. “Those lines.”
On stellar waves I’ve travelled
And will so again
“What does that mean?” Yu asked.
I shrugged. “I don’t know. The artefact is an explorer, perhaps?”
###
“You’re making this shit up,” Neubeck accused.
He gave me a look of disgust, and then pushed himself to the pilots’ seats and the instrument panel. He went straight on the radio to Mission Control but he spoke really quietly and I couldn’t make out what he was saying. I could guess, however.
Aliens using death metal to communicate… It sounded completely insane. And, I suppose, Neubeck could well be right: I might have been making it up. How did I know it wasn’t confabulation on my part?
But the feeling of experiencing that music live had been overwhelming, more so even than I remembered from the Mithras gigs I’d attended all those years ago.
“So what do we do?” Yu asked quietly.
I shrugged—and had to put out a hand to prevent myself from drifting. “Go back out and listen a bit more,” I replied. “I don’t see what else we can do. It’s the only way we have of finding out what the artefact really is.”
“Neubeck will nix that in a heartbeat.”
“I don’t care.” And I didn’t. I wanted to hear that alien music again. I wanted to put my hand to the side of the artefact. I’d come here to learn what the artefact was, and I couldn’t do that cowering inside the crew module.
“I agree,” said Stone slowly. “We can’t know what Mike felt is real unless we repeat it.”
“You could try touching it too,” suggested Yu.
Stone shook her head. “No. Only Mike. We don’t know what’s happening here, and we shouldn’t risk more than one of us.”
“But I’m expendable, right?” I said, a little annoyed; but also perversely happy because it meant I’d be first. I’d be in the history books, not Neubeck.
“But how do we know if it’s real if no one else confirms it?” pointed out Yu.
Or perhaps I’d be in some psychiatric journal as a case-study.
###
Neubeck reluctantly agreed to a second EVA. So Stone and I suited up, exited one by one through the inflatable airlock, and jetted on our MMUs across the hundred metres of open space separating the CM from the alien artefact.
This time, I put both gloved hands to the side of the artefact. My head was immediately filled with blastbeats. I could hear the spacey sounds of a synthesiser, evoking galactic vistas, furious guitar-work suggesting the secret workings of the universe… I felt as though I was seeing, and had seen, other suns and worlds. Great towering columns of nebulae, tens of light-years high. The fractal swirls of galaxies. The leaping prominences of a star’s corona.
Accompanying those visions, I heard music of an intensity I’d never experienced before; and a sense of unity which made me an integral part of the sights and sounds to which I was being subjected.
I pulled my hands from the artefact’s side, and swore loudly.
Once I’d calmed down, I asked Stone how long I’d been out.
“About two minutes,” she said.
“What song did you hear?” asked Yu. “Could you identify it?”
I thought a moment. “‘Beyond the Eyes of Man’,” I replied. “Same band, same album.”
Moments later, the familiar sounds of the song came over my radio. It sounded flat and distant, despite the high fidelity of the comms channel, compared to what I’d just witnessed. I listened carefully until I recognised the part the alien artefact had played me.
Yu stopped the music and read out the lyrics:
“You hear my song
It enchants your souls
You are in my power
I shall take you away.”
“Wow,” he said. “That’s pretty explicit.”
“In what way?”
“It’s like a galactic siren or something,” he explained. “It entices you and then sucks you in.”
“Assuming this isn’t all in Ross’s head,” said Neubeck.
“No,” I insisted. “It’s too intense, too visceral. I suppose dreams can sometimes feel real, but this is different. There’s this amazing sense of unity, like you’re at one with the band, with the audience, with everyone who’s listening to the music. You can feel it—like the way at a gig you can feel the kicks on the bass-drum as blows propagated through the air.”
“You took too many damn drugs, Ross, when you went to see these bands,” sneered Neubeck.
“Drugs weren’t part of the scene,” I snapped. Booze had been, though. But I wasn’t drunk now.
“Describe it again,” Yu asked. “I just had an idea.”
So, as I floated there in deep space, my hands no more than a metre from the grey flank of the alien artefact, lulled by the quiet comforting hum of my backpack as it pumped air and water about my spacesuit, as I hung in the void, I tried to get across to Yu and the others what death metal meant to me, how it affected me. That sense of belonging, which was purely an artefact of the music as it was played. There was no life-style attached. If fans of the music comprised a tribe or clan, it was a loose and individualistic one and its only common factor was a love of the music. But at a gig, standing before a stage while a band played, that tribe became welded into a single organism. And with music that loud, with vocals so guttural the words were often lost, a new kind of meaning was carried in the guitar parts, in the interplay of the instruments, in the sudden changes in tempo…
I let my explanation stumble to a halt, slightly embarrassed.
“Yeah, I thought so,” Yu said. “It’s sort of like networking. That sense of oneness, that could be a handshake. You know, like it sends the music as a challenge, you accept it and respond to it, and that establishes the link. And then the tune, riff, whatever, that would be the actual content of the message packets. Because they’re alien, you can’t interpret them. It’s like your brain has found a metaphor for a communication from the alien.”
“So he’s not making it up?” asked Stone.
“The music, yeah, I think so. The artefact is communicating with him, but this is how he hears it.”
“Hey, folks,” I said. “I’m still here, you know.”
I wasn’t sure I believed Yu’s explanation. Admittedly, when you study exotic matter and the like, you’re dealing pretty much with metaphors and acts of imagination. It’s not exactly a “hands on” science. But I couldn’t decide how I felt about what Yu said, if only because it meant my brain was wired in such a way that it used death metal as a metaphor for communication.
Which was sort of scary.
###
Another laying on of hands resulted in a snippet from Worlds Beyond the Veil’s title track:
Open your eye
Awaken your senses
This I show you—now you shall see
And it will change your world forever
There was definitely a message there. Yu had been through the album’s entire libretto, and had expressed his worry at precisely what message the artefact was transmitting.
“This is pretty martial stuff, Mike,” he said, referring to the album’s concept. “It’s like a rebellion and they call on some higher being, and he sucks them all in.”
“But the bits I’m hearing seem to be about exploring,” I pointed out.
“Or joining the artefact,” added Stone.
“Joining? How?” demanded Neubeck. “The goddamn thing’s hollow. There’s nobody in there you can join.”
He had a point. If the artefact was recruiting, it couldn’t be looking for physical recruits. Not unless what we saw here at the Moon-Earth L5 point was only part of an alien spaceship—a whole spaceship. Perhaps the rest of it existed in other dimensions?
There was only one way to find out.
This time it was:
We shall embrace the sanctity
of these distant planes
The song was ‘Voices in the Void’, and the lyrics did sort of answer my question.
But if the alien ship wanted us to join its crew, how did we do so?
Where was the entrance?
###
Back aboard the crew module, I stared out of the horizon window at the artefact while in my head reverberated pounding drums, lightning-fast arpeggios, hammers and slides and pulls, the insistent growls of an invitation to travel the galaxies… I had my phone plugged into my comms-carrier and was playing the album, but it wasn’t the same. It was like looking at a photograph of a loved one who had recently died.
I have to go out again,” I said.
I could feel it calling to me. It wanted me to join it. I only had to scroll through the lyrics of Worlds Beyond the Veils to see the message:
Come to me
Children of Mother Earth
There it was, in ‘They Came and You were Silent’. I had no intention of remaining silent.
“I need to go out again,” I said.
“Not going to happen, Ross,” said Neubeck.
I looked back over my shoulder at him. He hovered at the far end of the instrument panel. Yu and Stone were across by the storage lockers. I was reminded of a photograph I’d seen years ago, taken inside the Apollo command module during one of the flights to the Moon. I forget which astronaut it had been. He had seemed a part of the machine, an integral component of the spacecraft, carefully fitted in amongst the switches and readouts and equipment. Without him, the spacecraft could not have operated; without the spacecraft, he had no function.
That was Neubeck, that was what he looked like as I gazed across the pilots’ seats towards him.
And then I knew what I had to do.
I had the hatch into the inflatable airlock pushed open before Neubeck noticed what I was doing it. I darted through and slammed it shut behind me. The outer hatch was a problem. It was an inflated plug, and air pressure within the airlock kept it sealed. It was made of Kevlar and Nomex, and to tough to pierce with a knife. Besides, I had no knife on me.
Fortunately, the atmosphere was not at sea-level pressure but at 8.5 psi. I managed to force one arm down the side of the outer hatch. It was enough to crack the seal. Air hissed out. Soon, I was gasping for breath, and the pressure was low enough for me to haul the outer hatch open.
I wasn’t wearing my spacesuit. I had about three minutes before I died. But I had to reach the alien artefact. I exhaled, emptying my lungs and directing my breath at the CM. I could feel the intense heat of the sun on my face. Rolling onto my front, I put out my hands. The moisture in my mouth, on my eyes, in my nostrils, was boiling away. My fingers and hands had swollen to twice their normal size, were turning black with burst blood vessels. I would not survive this.
I didn’t care.
My hands hit the side of the artefact.
###
The band has been playing for about ten minutes. Behind them, the backstage area is dominated by a giant holographic screen. On it, I can see, with supernatural three-dimensional clarity, a blue marble alone in the blackness of space. I know it to be my home, the home I am leaving. As I watch, that small blue planet recedes from view and disappears. Then the sun, an intense white dot, swings across the screen. It grows larger, ever larger, turning yellow, orange, red. I can see its corona, the prominences climbing up and falling, great arches of seething matter at colossal temperatures.
The alien spacecraft is leaving the Earth-Moon L5 point and falling towards the Sun for a slingshot manoeuvre. I will see the wonders of the universe on that screen, I will visit other star systems and they will be displayed up there behind the band.
The audience and I are one, brought together by the music. I feel unity and peace and expectation. The music—those inhumanly fast blastbeats, the complex guitar, the intricate bass-line, the growls of the vocalist, the abrupt changes of tempo—make me a part of something greater, an intellect vast and conjoined. A synergistic organism.
An organism of many disparate parts. I look to my left and right, and see creatures that are so strange I have no words to describe them. Aliens. Hundreds of them, hundreds of different races. And all at one with, and in, the music. A congregation of souls brought together by the band on stage, witness to the wondrous vistas displayed on the giant screen.
###
I can’t explain why death metal appeals to me, but I can explain how I knew that death was the only way to gain entry to the alien ship. It’s there in the lyrics of ‘Transcendence’, the penultimate track on the album:
The call has come to return
To leave this mortal coil
Return to the eternal
Become as one again
To remove back to spirit
I cast off these chains so binding
Ends
(All lyrics taken from the album Worlds Beyond the Veil by Mithras, and used with the kind permission of the band)
Filed under: mithras, my fiction, science fiction, writing | Tagged: mithras, science fiction, writing | 5 Comments »
Skycontact, Phlebotomized (1997, Netherlands) Phlebotomized were a short-lived band during the Netherlands’ brief flowering of great death metal talent in the 1990s. They recorded a pair of EPs and a pair of albums. Skycontact was their second and last album. Their CDs now go for silly money on eBay. Skycontact is elegiac, mournful, and yet quite beautiful at times. There’s even a violin in it. ‘A Cry in July’ is an especially stand-out track.
Projector, Dark Tranquillity (1999, Sweden) This is the album that introduced me to Dark Tranquillity, and made me a fan of the group. It’s perhaps their most commercial album, and certainly it shows the breadth of their music – from the crunching riffs of the opening track ‘FreeCard’ to the synth-heavy ‘Day to End’ to the near-ballad ‘Auctioned’. Despite the somewhat mordant tone to the lyrics, Projector is an album that never fails to put me in a good mood. To date, I’ve seen Dark Tranquillity perform live four times, and it’s about bloody time they toured the UK again.
Blackwater Park, Opeth (2001, Sweden) This may well be the high-water mark for Opeth. It’s the first album by them I bought and I still consider it their best. The preceding album, Still Life, is excellent, but its songs don’t quite gel in the way Blackwater Park‘s do. This album has the perfect mix of Opeth’s trademark complex heaviness and acoustic interludes. The title track alone is a work of genius. I’ve seen Opeth live four times to date, and will be seeing them again later this year. They usually put on a damn good show.
Still At Arms Length, The Provenance (2002, Sweden) The Provenance disbanded in 2006 after four albums. Still At Arms Length was their second. It’s a hard-to-describe mix of death, gothic, doom and progressive metal. With a flute. Like some other Scandinavian metal bands, vocals were shared between male and female, with the male vocals often sung as growls. But there’s something about The Provenance’s songs which lift them above others of their ilk. They were more experimental – in their sound and their song structures – than their peers. And like all the best death metal bands, they could play a mean and heavy riff. I regret never getting to see them perform live.
Worlds Beyond the Veil, Mithras (2003, UK) I forget where I first heard Mithras, but I remember being immediately captivated by the combination of spacey ambient synth and furiously insane guitar and drumming. They’re probably the most science-fictional death metal I’ve ever heard – or rather, there’s something about their music which speaks to me of the best of science fiction. Which is probably why I used the lyrics to this album in a short story – originally published in Jupiter magazine, but also posted on my blog here. I’ve seen Mithras live twice – the first time at the Day of Unrest mini-festival in 2008 at the Purple Turtle in Camden; and I remember being exhausted after their set just from listening to the music. They have a new album due out later this year, On Strange Loops; and I’m very much looking forward to it.
Words That Go Unspoken, Deeds That Go Undone, Akercocke (2005, UK) I first came across Akercocke in 2005, when they supported Opeth at the Forum in London. I vaguely recall being impressed by the sheer noise they made, and the fact that they all wore suit and tie on stage. (They were sometimes called “Satan’s bankers” because of their stage attire.) However, it wasn’t until I saw them perform in the small room at the Corporation, supporting their Antichrist album, that I became a fan. I saw them once more before they split up. Words That Go Unspoken, Deeds That Go Undone is my favourite of their albums (and has a great title, too), with its abrupt changes from furious blackened death metal to slow and mournful acoustic parts. The opener ‘Verdelet’ is probably my favourite Akercocke track, too.
Red for Fire + Black for Death, Solefald (2005/2006, Norway) This one is a bit of a cheat as it was released as two albums, though the band wrote it as a single project. It is based on an Icelandic edda about Bragi, a court poet who dallies with the queen but is forced to flee when it is discovered. The album is a mix of post-black metal, Icelandic poetry, and even some jazz fusion. It’s the sheer variety that appeals as much as the individual songs.
The Diarist, Dark Lunacy (2006, Italy) Metal is well-suited to concept albums, and this is true of death metal as much as any other branch of the genre. The diarist of the title is a woman trapped in Stalingrad during the siege by the Nazis. The tracks successfully evoke the time and place, though without losing sight of its musical genre. There’s an epic quality to Dark Lunacy’s music which I think this album showcases especially well. I have never seen the band live but I would very much like to.
A New Constellation, NahemaH (2009, Spain) I was tricked into buying a NahemaH album. The label had put a sticker on the cover of the band’s second album, The Second Philosophy, which likened it to Opeth. Thinking that might appeal, I bought it. And listened to it. And discovered it was nothing like Opeth. But I hung onto the CD because I suspected it might be a grower. And so it proved. Within a few months I was listening to it constantly. And everything that was good, and that appealed to me, about The Second Philosophy is just more so in A New Constellation. It’s a death metal / prog metal wall of sound, accomplished and complex. I really want to see NahemaH live.
Annihilation of the Wicked, Nile (2005, US) I wanted Nile to be in this list of ten, but I couldn’t think which album to pick. In the end, I plumped for this one because it best displays their fusion of Ancient Egyptian themes and relentless US death metal. It’s like exploring the pyramids while suffering from a heart attack. The track ‘The Burning Pits of Duat’ allegedly features drumming at 320 bpm. Which is astonishing. Nile are a fixture on the death metal scene, and for good reason. I’ll get to see them for the first time at this year’s Bloodstock festival.
